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Poems. With Introduction and Notes
Poems / With Introduction and Notes
Preface: Bibliographical
1. The text I have used for the following translations is that of the edition of the complete works of Pushkin in ten volumes, 16mo., by Suvorin, St. Petersburg, 1887. The poems form Volumes III. and IV. of that edition. Accordingly, I have designated after each heading, volume, and page where the poem is to be found in the original. Thus, for example, "My Muse, IV. 1," means that this poem is found in Volume IV. of the above edition, page 1.
2. I have translated Pushkin literally word for word, line for line. I do not believe there are as many as five examples of deviation from the literalness of the text. Once only, I believe, have I transposed two lines for convenience of translation; the other deviations are (if they are such) a substitution of an and for a comma in order to make now and then the reading of a line musical. With these exceptions, I have sacrified everything to faithfulness of rendering. My object was to make Pushkin himself, without a prompter, speak to English readers. To make him thus speak in a foreign tongue was indeed to place him at a disadvantage; and music and rhythm and harmony are indeed fine things, but truth is finer still. I wished to present not what Pushkin would have said, or should have said, if he had written in English, but what he does say in Russian. That, stripped from all ornament of his wonderful melody and grace of form, as he is in a translation, he still, even in the hard English tongue, soothes and stirs, is in itself a sign that through the individual soul of Pushkin sings that universal soul whose strains appeal forever to man, in whatever clime, under whatever sky.
3. I ask, therefore, no forgiveness, no indulgence even, from the reader for the crudeness and even harshness of the translation, which, I dare say, will be found in abundance by those who look for something to blame. Nothing of the kind is necessary. I have done the only thing there was to be done. Nothing more could be done (I mean by me, of course), and if critics still demand more, they must settle it not with me, but with the Lord Almighty, who in his grim, yet arch way, long before critics appeared on the stage, hath ordained that it shall be impossible for a thing to be and not to be at the same time.
4. I have therefore tried neither for measure nor for rhyme. What I have done was this: I first translated each line word for word, and then by reading it aloud let mine ear arrange for me the words in such a way as to make some kind of rhythm. Where this could be done, I was indeed glad; where this could not be done, I was not sorry. It is idle to regret the impossible.
5. That the reader, however, may see for himself what he has been spared by my abstinence from attempting the impossible, I give one stanza of a metrical translation by the side of the literal rendering:—
LITERAL:
The moment wondrous I remember
Thou before me didst appear,
Like a flashing apparition,
Like a spirit of beauty pure.
METRICAL:1
Yes! I remember well our meeting,
When first thou dawnedst on my sight,
Like some fair phantom past me fleeting,
Some nymph of purity and light.
Observe, Pushkin the real does not appear before the reader with a solemn affirmation, Yes, or No, nor that he remembers it well. He tells the story in such a way that the reader knows without being told that he does indeed remember it well! Nor does he weaken the effect by saying that he remembers the meeting, which is too extended, but the moment, which is concentrated. And Pushkin's imagination was moreover too pure to let a fleeting phantom dawn upon his sight. To have tried for a rendering which necessitated from its very limitations such falsities, would have been not only to libel poor Pushkin, but also to give the reader poor poetry besides.
6. The translation being literal, I have been able to retain even the punctuation of Pushkin, and especially his dots, of which he makes such frequent use. They are part of his art; they express by what they withhold. I call especial attention to these, as Pushkin is as powerful in what he indicates as in what he shows, in what he suggests as in what he actually says. The finest example of the highest poetry of his silence (indicated by his dots) is the poem I have entitled "Jealousy," to which the reader is particularly requested to turn with this commentary of mine (p. 114). The poet is melted with tenderness at the thought of his beloved all alone, far-off, weeping. The fiendish doubt suddenly overpowers him, that after all, perhaps his beloved is at that moment not alone, weeping for him, but in the arms of another:—